360 The Drama. [MARCH, 



formances at this theatre, and the Diablerie now dignifying the stages which are 

 so satirically styled " classical." The Surrey is, in point of size and form, the 

 precise model winch every sensible theatrical architect ought to build by. It pre- 

 sents a fine, open, elegant effect ; and, what is a rare thing indeed in theatres now- 

 a-days, you can see and hear in every corner of it. And this leads us to another 

 distinguishing point in its favour that the pieces are in general worth seeing 

 and hearing. Mr. Bulwer's magnificent tale, Evgene Aram, has been dramatised 

 here with much tact the adapter having availed himself of almost every line of 

 the dialogue that could tend to complete the effect, and scarcely adding a single 

 sentence of his own. This gives the piece an additional interest in the eyes of 

 those who may have read the work it is like seeing the novel acted. There are 

 many very striking scenes in it, in a theatrical sense ; much effective contrast 

 and situation ; but there is beyond this, a moral and intellectual tone pervading 

 the performance, that places it far beyond the pale of the common order of melo- 

 drame. With this spirit of intellectual beauty that hovers over the scene, " like a 

 golden mist/' Mr. Elton's delineation of Eugene was completely in harmony. He 

 gave that rich, deep, and mental colouring to the character, which the high and 

 searching imagination of the author has lavished all its powers in perfecting. 

 Our praise is equally applicable to the subdued and the energetic passages. In 

 Mr. Elton's hands, Eugene's is no vulgar mystery a circumstance of some im- 

 portance, for it is upon this delicate perception and development of the charac- 

 ter that the whole interest of the piece depends. We have left ourselves little 

 space to speak of others, but we must not forget Mrs. West, nor could we be 

 other than amused, though he did not entirely realise the character, with Mr. 

 Vale's Corporal Bunting. 



REVIEW OF MUSIC. 



1. Riego's March, with Variations, by Sixto Perez. Goulding and Co., Soho- 

 square. 2. The Passion Flower, a new song, Inj J. filewitt. Preston, 

 Dean-street. 3. Soft and bright the Gems of Night : a Ballad, by H. Smart. 

 Chappel, Bond-street. 



No. 1. Riego's March (which, by the bye, is like any thing but a march), 

 has been greatly improved by the clever manner in which Signor Perez has 

 varied it. One or two of the figures are new, though it seems expressly composed 

 for those who are not very far advanced in piano-forte playing. Although 

 laying well under the hand, and very easily accomplished, it still produces a 

 brilliant effect. We compliment Signor Perez upon his mode of producing good 

 effects by simple means. 



2. The words of this song are the most unmeaning nonsense that ever spoiled 

 a sheet of paper, and the composer has expressed the meaning of the words pro- 

 perly. The ascent from the dominant in A scale, to the 6th above, is more 

 original than agreeable : the whole song is tinged with vulgarity, and, in all 

 probability, will never be heard of, away from the Melodists' Club, where 

 it was sung, and where, after copious libations, it might be tolerated. 



3. Is a charming song, mis-named a ballad, but of too high a character to 

 deserve that name. We object to some 8ths at page 2 ; not because they hap- 

 pen to be 8ths, but because the effect is offensive to our ear ; with that excep- 

 tion, we have not seen a melody so beautifully dressed in fashionable harmonies 

 for a long time. We should be happy to see something of a higher order by 

 Mr. Smart, for we are certain that he possesses genius, which is rather a scarce 

 article in these times. 



1. The Supplication Song. John Barnet. 2. Dear Sir ; 3. The Soldier; 4. 

 Dearest come tome; 5. 'Tis my duty that calls ; in the Farce of Country 

 Quarters. Composed by ditto. Goulding and Co., Soho-square. 

 No. 1. is a plaintive canzonetta, full of tenderness and feeling, and every 



word truly expressed by the music ; there seems to be a sort of analogy even 



